An amuse bouche of a political documentary: Corrie Tan reviews the National Theatre’s response to Brexit.
Returning home: Rebecca Latham reviews the European debut of Lindsey Ferrentino’s play about an ex-soldier and PTSD.
In all her scene-stealing cross-gartered glory: Rosemary Waugh writes a love letter to Tamsin Greig thinly veiled as a review.
Emotional amnesia: Miriam Gillinson reviews the transfer of the children’s show about the Beslan siege to the National Theatre.
The absence of Nanny State: Amelia Forsbrook reviews Alexander Zeldin’s new work at the National Theatre.
Not for fans of Esther Greenwood: Rosemary Waugh reviews Ivo van Hove’s production of Hedda Gabler.
The giddy rush of escape: Tom Wicker reviews Sally Cookson’s Peter Pan at the National Theatre.
Artistry breeds immortality: Amelia Forsbrook reviews Amadeus’s triumphant return to the National Theatre.
How can anyone flawlessly jazz-up an issue? Fergus Morgan reviews Bryony Kimmings’ new musical about cancer. Warning: includes GBBO spoilers…
An exercise in style: Holly Williams reviews Robert Icke’s take on the thriller noir.
Physical, energetic, vital, confident: Sally Hales reviews the triumphant Our Ladies of Perpetual Succour at the National Theatre.
David Ralf reviews the National Theatre’s frustrating centenary production of Sean O’Casey’s Easter Rising play.
Cracking the egg: Tim Bano’s long-form review of Carrie Cracknell’s production of Terence Rattigan’s classic.
A sun-soaked oddity: Alice Saville reviews Alexi Kaye Campbell’s new work at the National Theatre.
“A bit too clean and palatable”: Miriam Gillinson reviews Simon Stephen’s new adaptation of Brecht.